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Spectator
09-07-2025
- Entertainment
- Spectator
Grayson Perry has pulled off another coup at the Wallace Collection
This show was largely panned in the papers when it opened in April, with critics calling it 'awkward and snarky', applying that sturdy English put-down 'arch', and generally carping at 'rich insider' Sir Grayson Perry for posing as an outsider artist. Word-of-mouth reviews were completely different, however, almost as if gallery-goers, free from the necessity of taking an art-historical position, had just really enjoyed the whole bonkers experience. To get to the exhibition, which is down in the former cellars of Hertford House, you first walk through the Wallace Collection, past its gleaming ormolu and onyx treasures. The place is a portal into the ancien régime, yet still carries a feeling – imprinted into the small-scale neoclassical architecture – that this is a home. A fantasy home. A home for a fantasist. 'A poor person's idea of how a rich person's home should look,' as Perry puts it. The sort of place one might think one lived in, if one were having a mental-health crisis. Which brings us to Perry's invented persona Shirley Smith, formerly in the care of Claybury Mental Hospital, Essex, now living in a council flat in Islington, and suffering – or enjoying – delusions of grandeur. The audio guide begins with her voicing a letter to the 9th Marquess announcing she has recently discovered she is his heir and asking when she can move into her rightful home. A tragicomic conceit, and a rich vein for Perry, who makes many of the works in the exhibition in her persona – intense, repetitive line drawings of herself in fine clothes, and a truly hideous handcrafted version of Boucher's 'Madame de Pompadour' made by Shirley Smith out of wool and bobbins during art-therapy sessions. Because this is the Wallace Collection, the original 'Pompadour' by Boucher is hanging here, too, completely upstaged by Shirley Smith's garish stitching; when I finally noticed the familiar masterpiece, I burst out laughing, and saw it afresh – an achievement of the show. Perry has created Shirley Smith in the image of Madge Gill (1882-1961), the outsider artist, scribbler, weaver and mystic. Several of her drawings and textiles are displayed, illuminating but tangential. In fact, the whole show is a constellation of clever tangents and compelling ideas, volleying from AI to the rococo, from 'craftivism' to – in a virtue-signalling tapestry by Perry that is unappealing to look at, but makes another synaptic spark – the problems of patronage. Delusions of Grandeur digs into the feelings that the Wallace Collection evokes; Perry himself has a kinky engagement with the armour, hates the shiny Sèvres and can't keep a straight face when he looks at the miniatures, which he arranges into a family tree of psychiatric disorders. He has a lot of fun with it all, believing an artist's job is to 'bite the hand that feeds him, but not too hard'. The mood is mildly subversive, the social-warrior sting removed by the fact that Hertford House is bequeathed to the nation, and you can stroll in at any time, for free. 'I Know Who I Am', 2024, by Grayson Perry. © GRAYSON PERRY. COURTESY THE ARTIST AND VICTORIA MIRO Perry puts his spin on the weaponry here, creating 'A Gun For Shooting the Past', a gaudy neon fake blunderbuss that sits beside a real silver-enamelled flintlock. 'This gun is a talisman of power over our history,' he riffs. 'It has no power in the here-and-now, it cannot kill anyone. It is for settling scores with the past, it kills memories… For those of us who are still controlled by painful experiences at the hands of people in the past, perhaps several generations ago, this gun can deliver cleansing fire.' The woman next to me beamed at it, in on the psychotherapeutic language, or simply enjoying the conceit. This work will live on, I think, but there is no new masterpiece here, nothing you want to buy a postcard of. In fact, as noted, many of the works are ugly, failures of one sort or another. But it's a very stimulating show, the most cerebral fun I've had in a gallery for a long time. I was hoping for a more complete engagement with Shirley Smith's style, but the glimpse of the numinous power of outsider art dwindles like a candle next to Perry's electric light. The promise that we will see the interior of Shirley Smith's home does not come off, and instead we get more and more Grayson Perry showing through the patina of Smith. But Perry is, I suppose, what people have come for, and he has pulled off another coup here.
Los Angeles Times
08-05-2025
- Entertainment
- Los Angeles Times
Must-Have Pieces from Vivienne Westwood's Boutique Bridal Collection
LA Times Studios may earn commission from purchases made through our links. Vivienne Westwood's bridal creations have long captivated brides with their daring elegance, and the recent debut of the brand's first dedicated bridal runway show at Barcelona Bridal Fashion Week only deepens the allure. Rooted in the pioneering legacy of Dame Vivienne Westwood herself, this bridal collection invites brides to celebrate their individuality through couture-level craftsmanship. From dreamy gowns crafted in luxe Italian silks and breezy georgettes to avant-garde reinterpretations like the striking Madame de Pompadour dress, each piece tells a story. For brides looking to make a bold statement while honoring tradition, we've rounded up our favorite pieces from the Vivienne Westwood ready-to-wear bridal boutique. The silhouette of the Nova Cora Mini dress takes inspiration from the popular Nova Cora dress, offering a soft sweetheart neckline on the corseted bodice, complete with the 'Charming Roses' embroidery that enhances the elegance of the piece. View At Vivienne Westwood The Mini Bagatelle Dress's structured silhouette features a cinched waist, with a romantic neckline highlighted by draped fabric that sweeps across the shoulders. The full mini skirt, with deep pleats, conceals hidden pockets. View At Vivienne Westwood Featuring a corset reminiscent of fashionable high society women of the 15th-century, this dress has a scoop neckline that sweeps across the shoulders and cinches at the waist, complete with an A-line skirt that wraps around the body with structured folds that converge at the back and extend into a sweeping train. View At Vivienne Westwood The piece draws inspiration from the traditional fishu, a square cloth historically worn to fill a low neckline, and has been reimagined this season with a sleeved, hooded silhouette, allowing it to be worn over a gown or tucked into the neckline, serving as either a veil or a shoulder wrap for additional coverage. View At Vivienne Westwood The signature Belle Heart Frame purse has a soft leather finish, complete with a metallic crinkle texture, lending an air of faded nostalgia. View At Vivienne Westwood Designed in a tiered silhouette, it features a flowing train that cascades elegantly to the floor. The silver-tone plated comb is gentle on the hair and flexible, allowing for easy adjustment to complement the bride's hairstyle. View At Vivienne Westwood The Three Row Pearl Bas Relief choker draws inspiration from classic pearl jewellery, incorporating Vivienne's distinctive approach of fusing punk aesthetics with historical influences. The design features a central two-dimensional orb adorned with white crystals View At Vivienne Westwood The Gathered Tulle sleeves feature a semi-sheer finish with soft ruched details across the design, accentuating the long-sleeve silhouette. The design receives a glove-like fit, complete with tonal stitching running along the seams. View At Vivienne Westwood Click here for more information on Vivienne Westwood
New York Times
06-05-2025
- Entertainment
- New York Times
A Van Cleef & Arpels Watch That Took Nearly 1,300 Hours to Make
First of Its Kind, Last of Its Kind tells the story of an exceptional accessory and the archival piece that inspired it. In the 1660s, decorative brooches and ribbons began appearing on the bodices of women's clothing in Europe. A century later, Marie Antoinette wore frilled trimmings on her coronation robes and Madame de Pompadour, the chief mistress of King Louis XV, tied lacelike collars around her neck. When Van Cleef & Arpels opened in Paris's Place Vendôme in 1906, one of its first orders was for a gem-encrusted bow-shaped brooch. In 1918, the house produced a black onyx and diamond broche noeud, or knotted pin; this was followed in 1926 by a round, Art Deco-inspired clip with a fluttering band of diamonds that mimicked a swatch of silk. During World War II, the company, unable to obtain as many precious stones, improvised with pendant bows featuring intricate gold lacework that resembled flowers and tulle fringes.
